Wednesday, December 03, 2025

Padmakar Ranjit: everyday chronicler in a league of his own

 


I was always positively intrigued by the Pathare Prabhu community of Mumbai, the early settlers of what was way back then called the Mahim Island. The descent of this remarkable clan is linked to the Nepal monarch and Suryavanshi King Ashwapati, and his descendants reportedly came to Mumbai via prior relocations to Bihar and Gujarat. Their language, culture, customs, and cuisine are a fine blend of diverse communities, and they are deservedly known as the city’s earliest mavericks, thanks to ahead-of-time reforms like women’s education and widow remarriage. What truly sets them apart, however, are visionaries among them like the revolutionary Shivkar Talpade, wet dock pioneer ‘Bhau’ Lakshman Harichandra Ajinkya, Barrister M. R. Jayakar, and freedom fighter and ardent Tilak follower Dr. M. B. Velkar. More about the last mentioned can be accessed at the link: https://www.fitforpurposecontent.com/2019/09/the-veracious-velkars-of-good-ol-mumbai.html

                 

So, I was naturally overjoyed when wedlock inadvertently brought me closer to Pathare Prabhus, my wife being a peculiar mixed breed, the offspring of a Koknastha Brahmin father and a Pathare Prabhu mother. While the marriage was celestially arranged and has provided me with a lifelong anchorage, it didn’t take me long to become completely disillusioned by the obnoxious behaviour of some of these ostensible descendants of a great lineage – given their idiotic obsession with speaking (broken) English at social gatherings, blatant favoritism and brazen prejudice towards blood relations, fake and hypocritical family and community  pride, a savagely hedonistic culture of partying like there is no tomorrow, and compulsive disorders of a few miserly beings among them (who throw marriage treats like they were a favour on the world, and make preposterous ‘you will get either this or that’  propositions while gifting on joyous occasions.) 

 

Of course, this cultural degradation is not restricted to Pathare Prabhus alone, it pervades all castes, creeds and communities. My own Brahmin tribe is well known for its hollow ideals and shallow conduct, all in the delusional belief that it is the most superior race meant to rule the world. The most retarded specimens - koknastha Brahmins in particular - can be found in the Dadar area of Mumbai and the Peths of Pune.   


Whether Brahmins or non-brahmins, the majority populace of any caste has allowed their pride to turn into vanity which in turn has wiped out the underlying ethos. This is precisely why Indians can't collectively initiate any grassroots movement and still depend on individual crusaders to bring about lasting change in the right direction.   

 


 

Coming back to my story, in the chaos and commotion caused by these repeat offenders, he invariably stood tall on the dais of his unassuming nature, simple ways, and an affable persona, keen to build Fevicol bonds with like-minded folks, irrespective of caste, creed, religion and economic status. He was my wife's maternal uncle, and thanks only to his reassuring presence, I could overlook the toxic manoeuvres and machinations of most others, who from time to time have underscored pettiness and parochialism as their defining character traits.  

 

I have fond memories of the few interactions with him, which revealed a truckload of insights into his mind and method. I have no doubt whatsoever that he would have made an excellent screenplay writer, incisive chronicler, and  decent actor, given his uncanny knack of animatedly recounting experiences and anecdotes of a bygone era, of the Mumbai of his time with its eateries and other landmarks, his formative years of schooling, his tryst with banking that began immediately after matriculation and ended with his retirement, and his passion pursuits including his foodie adventures pan Mumbai, and of course his obsession with films, theatre and music.

 

Talking of his narration skills, I can’t ever forget the picture-perfect description of his day to day schedule – how the day starts with the milkman announcing his arrival with the ear-splitting high-decibel sound of the rusty grill door at the entrance of his housing society being ruthlessly pushed to the side and how it ends with the loud hawking of the Kulfi seller. There was a P. L. Deshpande-like touch to the humorous discourse.

 

It was a royal treat learning about his fag-end tryst with learning harmonium, marked by the inimitable description of the process including an impressionistic portrayal of the teacher and his mannerisms. Every description was a film in its own right – whether the family visit to a Lonavala acquaintance in the wee hours of the morning, or a mishap en route an official stock inspection that manifested into ankylosing spondylitis.    

 

 

It was through him that I could trace many authentic non vegetarian joints of vintage Mumbai, as also know about astonishing tales like one stall owner from Fort area who became part of the city’s folklore selling butter milk with thick malai, till it was found that the so-called malai was nothing but gelatin paper.        

 

Over time, he confided in me about many tightly encrypted family secrets about how a few so-called near and dear ones caused him considerable mental anguish, and how he decided to steer clear of making any claim to family property or inheritance, choosing instead to start a new life built on hard work and magnanimity in the distant Mumbai suburb of Goregaon.

 

His demise happened in the most tragic circumstances sometime before the advent of the pandemic, close on the heels of his wife’s death from a terminal illness. We were not informed of his demise for reasons known only to those who took this mindless decision, and it was several months later that we came to know he was no longer in our midst.

 

Fate has its own cruel ways to prevent kindred souls from spending quality time with each other, but it can’t take away the inexplicable charm of remembrances that stay with you all your life, nor can it take away the human ability and agility to summon the good times with good people at will; you can make them reappear in your mind’s eye more than even before, even when they are no more.  


Padmakar Moreshwar Ranjit, you are sorely missed but more importantly, you are alive and kicking in our hearts and minds. 

 

PS – I shall be forever indebted to Padmakar Ranjit’s niece Bharti Desai for sharing his vintage snaps at short notice; she is yet another good soul like him, so is her son Vaibhav Vilas Desai, the most deserving inheritor of a founding legacy of goodness. May it continue unimpeded for generations to come. Amen!

Tuesday, December 02, 2025

Metaphysics of music unleashed for posterity



To this day, a great many artists present his renditions across different platforms and forums, trying to reproduce the same hold over a mystifying genre, which is a fine blend of Arabic, Persian and Urdu verse.

However, we trust the orginal and nothing but the original - the one and only Sheheshah-e-ghazal to convey the intended meaning in his husky and resonant voice, exactly as the shayar constructed it piece by piece: all the way from the Matla to the Maqta, while cherishing the sonic identity through the immutable Radeef and the variable Kafiya.

Born in Luna, Rajasthan to a musical family of Darbari Ustads who were also into wrestling, Mehdi Hassan saab delivered his first public performance at the tender age of 8 before the Maharaja of Baroda. He never looked back ever since and took his vocalism to new highs across diverse forms, whether Dhrupad, Khayal, Thumri or Dadra. Thanks to his selfless contribution, the ghazal form enjoys a Pole Star position of pride today, which cherishes the legacy of all-time greats like Begum Akhtar through purposeful improvization.

Post partition, Mehdi saab’s family relocated to Pakistan where he ran errands at a bicycle shop before becoming a competent auto-mechanic, as well versed with engine makes as he was with raga types. Never abandoning his riyaz, he kept exploring opportunities and the Radio Pakistan stint as a thumri singer was the perfect foundation that unleashed his lifelong passion as a world-renowned Ghazal exponent.

His renditions are not just about the gayaki and raagdaari, there’s something deeper about his singing that makes the discerning music lover wilfully and gainfully introspective. After identifying the most appropriate raga for the ghazal’s defining mood, he innovates on it with astounding dexterity, impeccable pronunciation and enunciation, and prudent phrasing, and all this without disturbing the raga’s integrity. He entertains the audience and leaves them mesmerised but there’s no playing to the gallery.

Think of Mehdi saab, and you yearn to lose yourself again and again in the hypnotic spells of Ranjish Hi Sahi, Gulon Mein Rang Bhare, Ab Ke Hum Bichhre, Baat Karni Mujhe Mushkil, Woh Zara Si Baat Par, Zindagi Mein To Sabhi, Mohabbat Karne Wale, Ku-Ba-Ku Phail Gayi, Shola Tha Jal Bujha Hoon…the list is endless.

Here I recount one of his lesser known but highly incisive ghazals 'Kaise Kaise log', a masterpiece penned by Munir Niazi saab. Each couplet is true to life – both in terms of the lyrics and the composition. Ask those who intuitively sense the hollowness of social interactions, and they will profusely agree:

कैसे-कैसे लोग हमारे जी को जलाने आ जाते हैं, अपने-अपने ग़म के फ़साने हमें सुनाने आ जाते हैं।
मेरे लिए ये ग़ैर हैं और मैं इनके लिए बेगाना हूँ फिर भी एक रस्म-ए-जहाँ है जिसे निभाने आ जाते हैं।
इनसे अलग मैं रह नहीं सकता इस बेदर्द ज़माने में मेरी ये मजबूरी मुझको याद दिलाने आ जाते हैं।
सबकी सुनकर चुप रहते हैं, दिल की बात नहीं कहते आते-आते जीने के भी लाख बहाने आ जाते हैं।

I am not attaching Mehdi saab’s elaborate version given the poor quality of the Youtube tracks; here’s the compositionally-truncated film song version which has enough nutrients to organically lead the true music lover to the full-blown rendition.

https://www.youtube.com/watch?v=2kJmdw3S04U


Friday, November 21, 2025

From Pity to Serendipity



It was a gargartuan stroke of luck that I stumbled upon a destination of my wildest dreams in the course of a AI-enabled tourism project marked by quintessential machine stuff including collaborative geo-tagging, heat maps, et al.

Before I knew it, I had left all particulate matter and artificial intelliegnce behind to find quality off-time and offbeat attention for articulating scores of mind matters in an unbelievably high AQI zone with my natural stupidity.



This green house on the cusp of Assam and Arunachal Pradesh, I later found out, is in close proximity to my birthplace of Roing, where my mom gave birth to me in a ramshackle primary health centre very many centuries back, where I was tucked in a makeshift tea tray for want of a better functional arrangement in a remoter than remote region, courtesy my dad's North east deputation as a decorated field officer of the Archeological Survey of India, where he made key excavations immediately following my birth. More about them at: https://www.fitforpurposecontent.com/2015/12/dr-y-raikar-excavation-in-lower-dibang.html

You see, tea trays can do way more than house legendary beverages best served piping hot, they can hold lucky mascots too.



This unexpected homecoming in the AI era feels surreal, but is discernibly rejuvenating.

Wish I can muster the guts to settle in these oxygen-rich environs after the completion of the project; wish I can eliminate the scores of ifs and buts that have settled deep in my gut over a span of several decades of mind and body conditioning.

Impossible dream, but you never know!

Wednesday, November 19, 2025

Museum of the People, by the People, for the People




To the north east of India in the Khinjili village of Roing's Lower Dibang Valley district of Arunachal Pradesh, far away from the maddening crowds, traffic woes, and low AQI nightmares of our urban jungles, lies a therapeutic green house (materially and metaphorically) in the middle of nowhere: the Research Institute of World's Ancient Traditions, Cultures, and Heritage (RIWATCH) which is home to

  • RIWATCH Museum: a learning hub showcasing the commonalities that bind indigenous communities across the globe, and includes extensive ethnographic collections from Arunachal Pradesh, the wider Northeast India, and an upcoming international block where exhibits from Kenya, Spain, Indonesia, Mexico among other nations would be showcased before the end of this year.

  • Centre for Mother Languages which documents, promotes, and preserves the numerous endangered indigenous languages and oral traditions of Arunachal Pradesh through field studies, workshops, and publications of glossaries and books.


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  • Centre for Intangible Cultural Heritage which safeguards living expressions of culture, such as performing arts, rituals, and traditional knowledge.

  • Research and Academic Collaboration with national and international universities, including the University of South Florida and Rajiv Gandhi University, offering opportunities for scholars and interns.

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  • Arogya Centre for Nature Cure and Well-being through natural healing and Panchakarma therapy

  • Community Outreach for community empowerment initiatives, including farmers' programs on precision farming and educational workshops, linking cultural preservation with sustainable development.


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An affiliate Unit of International Center for Cultural Studies USA Inc., RIWATCH is a non-profit, community-based research organization dedicated to the preservation and promotion of the region's rich indigenous cultures, languages, and heritage.

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Vijay Swami, Executive Director, RIWATCH

Executive director Vijay Swami has played a pivotal role in establishing RIWATCH as a leading center for cultural heritage and research, organizing documentation initiatives, research projects, and cultural events that cherish the region’s oral traditions, languages, and cultural practices.

Originally from Maharashtra's Solapur District, Vijay sir did his graduation in English literature before acquiring a MSW degree. He joined the Vivekananda Kendra in 1985 following a 21-day camp at Kanyakumari and was sent to a tiny hamlet near Walong in Arunachal Pradesh. For the next 15 years, he served the Vivekananda Kendra through various roles as were entrusted to him from time to time.


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In 2004, he won the US government's Fulbright Scholarship where he met many likeminded people and the ensuing interactions gave birth to the idea of RIWATCH. 2009 marked the fruition of this idea in a humble bamboo hut deprived of electricity and road connectivity. Gradually, given the sterling conviction of his mission, he won the wholehearted support of local community leaders as also organizations like ICCS and Sewa International which helped the institute grow to its current avatar spread across 8 hectares of land.

The access road to the museum is a nightmarish stretch of about 6 kms which is a litmus test for your automobile given the mountains of gravel it has to endure to reach the desired destination. At various junctures, our poor driver threw an inquisitive glance at us whether to proceed or turn back. Needless to say, we looked the other way.

Although this nerve-wrecking roller coaster ride is worth the effort to study the awesome artefacts housed in the museum - including tribal attire, weapons, stone utensils, Buddhist scriptures, traditional ornaments, sculptures, and vintage photographs of communities like the Idu Mishmis and the Wangcho tribe - the institute patrons and well wishers would do well to ensure that a proper road is paved. We did see a bull dozer on our way back but the pace of work was indeed depressing, and the fresh cracks were in fact making the ride go from bad to worse.

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Rather than make light of the whole ordeal, the institute authorities can acknowledge the problem in the first place and avoid making casual mentions like "It's only a question of 6 kms." For someone visiting out of genuine curiosity and seeking no special privileges or attention, this courtesy is MUST.

The institute publishes many books on niche themes which is a commendable initiative. Having said that, one sensed the need for more comprehensive literature on RIWATCH itself - its evolution, success milestones, and plans going forward. The website falls short of purposeful communication and is replete with typographical errors.

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While all museum staffers are cheerful and helpful, there's no competent personnel to assist Vijay sir in spelling out the essence and significance of this great institute which is undoubtedly one of its kind. A standard narrative is relayed in a monotonous and somewhat mechanical tone - whether on Youtube, Website or in person. The dutiful communication does not make way for insightful conversation which is a pity.

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RIWATCH has come into being by virtue of an organic people's movement, for which Vijay sir has left no stone unturned in building an enduring relationship with the local community, and motivating them to contribute artifacts and photographs to cherish their traditions, culture, and heritage in the truest sense.

His effort deserves a better chronicle across all forms of media - print, electronic, web and even the ubiquitous social media.

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Instead of publishing books and periodicals on high-quality paper which is inevitably etched to an imposing price tag, the institute will do well to make available cost-effective literature on functional paper of decent quality. Common people from all over the world will then be able to purchase these books and cherish them as part of their private collection to create a higher recall value for RIWATCH and later UWATCH as and when the research institute is converted to a university.


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Nuya Mega, receptionsit cum guide

We wish Vijay sir and team every success on the way forward and may his UWATCH mission be accomplished very soon!